Last weekend, I saw Karate Kid: Legends.  During the previews, I was treated to a trailer that, remarkably and sadly, I had yet to see: The Phoenician Scheme.  As I have likely stated in other reviews, Edgar Wright is my favorite director.  However, if there is a second, it is Wes Anderson, the person behind today’s film.  Anderson has the added personal bonus of being a Catholic, though his work would lead one to question his commitment.  Between that and his filming style, his movies have become a “drop everything and see at once” event.  Hence, on the previous Friday I thought I would be headed to the cinema for a second day in a row.  As it turns out, I did not pay attention to the ticket I purchased, which is why you are getting this treatment today.  Thankfully, I was satisfied on most counts for the kinds of things for which this Catholic reviewer looks.

The things that the corrupt European businessman Zsa-zsa Korda (Benicio del Toro) looks for are assassins, which have only increased their murderous intent since the beginning of The Phoenician Scheme.  This is demonstrated in the first few minutes as his private plain is targeted, blowing a hole in the side that gruesomely kills his assistant, which forces him to crash land.  Everyone assumes he is dead, despite having survived numerous such incidents, and the press reports that he is no longer among the living.  Instead, he is having a post-life vision (if you will excuse the awkward phrasing) of him trying to enter heaven but not being recognized by his long-deceased grandmother (Carmen-Maja Antoni).  Zsa-zsa’s resurrection and convalescence cause him to reconsider his legacy and relations.  Pointedly, he sends for his daughter, a novitiate nun named Sister Liesl (Mia Threapleton).  For those non-Catholics out there who might be reading this, or perhaps some in the Church who could also be unaware, a “novitiate” is basically a “trial period” before taking a religious vow.  If you see this movie, you will know how appropriate is that phrase.  At any rate, she had not seen her father for many years and despite forgiving him, is leery of him because she believes him responsible for murdering her mother.  He swears that he did not do it, though for the moment is seems like his way of trying to get her accept him is to be his heir.  She wonders why he cannot name any of his nine sons, some of whom are adopted, but he is adamant that she be the one.  After writing to her Mother Superior (Hope Davis), she accepts on a “trial period,” but remains committed to returning to her vocation.  At this point, Sister Liesl and Zsa-zsa begin the process of going over the estate at the heart of which is the title bit of land, a large holding in a fictional version of the Middle East that he intends to develop commercially and industrially.  There are many vested interests in the project, not all of which wish to see it succeed.  Working against him is the United States government, which uses its influence to drive up prices for common construction items.  This creates what is referred to as “the gap,” the divide between how much money has been put in by everyone and how much it will ultimately cost.  Thus, taking with them Zsa-zsa’s new assistant, the insect tutor Professor Bjørn Lund (Michael Cera), he and Sister Liesl set out to visit everyone with a stake in the plan.  Zsa-zsa hopes to modify their agreement so that he does not have to bear the brunt of the expenses.  I will not detail each one of these meetings because that would be tedious.  They repeat certain themes that are played in a humorous fashion with typical Anderson material.  What is of more interest are the relationships that develop between Sister Liesl, Professor Lund, and Zsa-zsa.  From the start, Professor Lund states his attraction to Sister Liesl.  She is surprised by the sentiment, but thankful for the compliment.  Still, she does reiterate her desire to maintain her vows.  What changes is the revelation that he is an American spy, not a Norwegian entomologist, who is working on behalf of the United States government.  Yet, because of his feelings for Sister Liesl, he becomes more of an asset to Zsa-zsa.  As for the father, a big question is his paternity.  He is insistent that he is her dad, though there is resemblance between her and her uncle, Zsa-zsa’s half brother Nubar (Benedict Cumberbatch).  Every stop on their journey, Sister Liesl asks about her mother and what they know of her death.  The picture emerges of mom cheating on Zsa-zsa with a former assistant, and Nubar killing the two cuckolders in a fit of rage.  This is the story that Sister Liesl clings to, and it seems to soften her feelings towards Zsa-zsa, along with a few heartfelt gifts from him.  It is her desire to confront Uncle Nubar on the affair that keeps her going, though, even after Mother Superior shows up to tell her that she is not suited for a life as a nun.  Thus, all she has left is the truth, even with Uncle Nubar spitefully trying to deny that Zsa-zsa is her biological dad.  Additionally, Uncle Nubar turns down modification of his agreement in order to cover the gap, while also admitting to being the one behind the numerous attempts on Zsa-zsa’s life.  Walking away, Zsa-zsa decides he is going to put up the remainder of his fortune to make up for the shortfall, meaning there will be nothing left to his estate.  This gets the confident support of Sister Liesl, especially after Uncle Nubar and Zsa-zsa have a physical altercation that eventually leads to the former blowing himself up with a grenade.  Having set everyone up for success, Zsa-zsa retires with Liesl, who is no longer discerning, to open a small café.  Having accepted Bjørn’s marriage proposal for a “trial period,” the final shot is of father and daughter playing cards after a long day.

It is the relationship between Liesl and Zsa-zsa that is at the core of The Phoenician Scheme.  What makes this one stand out compared to others is the Catholic-ness of the manner in which the story is told.  When you are watching one of Anderson’s films, they are so distinctive that such elements play a prominent role in the plot.  Though Liesl ultimately does not take her final vows, throughout she demonstrates a prayer life that is mostly befitting of someone discerning that life.  I say “mostly” only because there are some problematic elements to her characterization, such as seeing her having a few drinks, smoking a pipe, and wielding a knife.  There is also a point at which she kisses Bjørn before her conversation with Mother Superior.  Regardless, throughout we see her with a Rosary wrapped in her hand, something that I have witnessed many members of religious orders do.  She is also depicted as praying with it.  There is also an outward, upright quality to her that wishes to speak the presence of God into the world.  Put simply, she is evangelizing, which is something members of holy orders are particularly set aside to do.  Of further interest on this note are the depictions of Zsa-zsa’s dreams.  They come during his numerous brushes with death, and they see him brought before God (Bill Murray) and other Heavenly representatives to answer for his sins.  What is fascinating about these scenes cinematically speaking is that they are in black-and-white.  In such a format, it is more accurate to say that everything is a shade of gray, which some would argue is how we should look at sin.  We tell ourselves that it is wrong to lie, for example, but it is tempered if it is a “white lie,” uttered to perhaps lessen the blow of a harder truth.  In God’s eyes, a sin is a sin, and requires the same contrition to seek forgiveness.  What makes Zsa-zsa an interesting character is that throughout he shows a gradually increasing contrition for what he has done.

Indeed, Zsa-zsa has a sinful reputation to overcome in The Phoenician Scheme, which is why nobody trusts him.  From a Catholic perspective, I was pleased with his progress.  I was a little less so with Liesl’s decision not become a nun.  Actually, it is more accurate to say that it is Mother Superior who decides for the young woman.  This can happen, and still does.  For men and women to join a religious order is not as easy as showing up at a monastery, putting on some robes, and praying for the rest of your life.  As already mentioned, there is a “trial period” called the novitiate, which is when a person lives with a community, following their way of life in order to discern whether it is right for them.  During that time, the hopeful meets with a vocations director to discuss the process.  That director can make the determination that said person is not right for a community, and then they leave.  They can then either find a different order, or live out the rest of their lives as a lay person.  I was a little annoyed with Liesl’s outcome because she did most everything right, but is still denied.  Admittedly, my disappointment is due to me geeking out over nuns.  Still, she says one of the best lines I have ever heard about prayer, which makes the result even harder to take.  In encouraging her father’s prayer life, she says that when she talks to God and does not hear a response, as often happens, she instead imagines what He would want and acts accordingly.  She adds that it is easier than one thinks.  If you are shocked by a sister hinting that God does not speak, consider that there are many examples of saints experiencing years of spiritual dryness, but following the structure of Faith all the same.  God does not have to have clear words booming inside our heads, or rays of light shining down from Heaven.  We know He exists because we have life, are given the chance to reconnect with family, or to be shown the path we are actually meant to be walking.  I do not doubt that Liesl is doing God’s will throughout the movie, and I am cheered by the fact that the final scene features her narrating a letter to Mother Superior about her new lot in life.

Even though Liesl is no longer discerning to become a nun, it is safe to say that The Phoenician Scheme is Anderson’s most Catholic film to date.  That alone gets it my recommendation.  There are a few of his trademark quick-cut references to lewdness, but they are brief and toned down compared to his other work.  At the same time, there was a certain lack of charm to this one that I cannot quite grasp.  Either way, it is a solid piece of cinema that deserves a look.